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Written by Matthew Toomey

Created: 18 May 2000

Angela’s Ashes follows in a similar vein.  Based on the autobiographical best seller, Frank McCourt’s account of his childhood in Ireland takes misery and desperation to a new level.  This is divided into three “chapters”, each showing a separate part of his upbringing.  His mother struggled with illness whilst trying to feed her starving family.  His father could never find work and when he did, managed to spend it all on alcohol.  He lost younger brothers and sisters because of lacking medical attention.  His life couldn’t have been much worse but somehow from within, a talented individual was crafted.

Frank developed an interest for writing at school and over time longed to travel to America to further his career and his ambitions.  In the back of our mind we all know it’s going to work out for him in the end but I could not believe the pain and torment he went through to come this far.

There isn’t a lot to smile about in Angela’s Ashes making it a heavy viewing experience but like most true stories, the plot is extremely interesting.  Alan Parker’s direction was tough.  His use of the few sets and reiterated camera angles works very well and provides the truly morbid setting.

Performances were admirable with Robert Carlyle standing out as the father.  Creating a character that is both loved and despised, Carlyle surpasses most expectations.  Emily Watson shines through the gloom as the mother with three actors, Joe Breen, Ciaran Owens and Michael Legge sharing the leading role of Frankie.

Overlooked at Oscar time, Angela’s Ashes will struggle to find an audience outside those already familiar with the novel.  Having not read the book, I felt I took less away from the film than I should and to me this was the film’s pitfall.  Perhaps it’s a film where the novel is best read first…

Details

Written by Matthew Toomey

Created: 11 May 2000

On Tony’s back is team owner Christina Pagniacci (Diaz) who is threatening to release him from contract unless the team improves but Tony has little respect for Christina.  Things get even worse when star quarterback, Jack Rooney (Quaid) is injured and will be lucky to play again this season.  Forced to blood new talent, he uncovers third-string quarterback Willie Beaman (Foxx) who over the space of several weeks rises from the ranks bringing success to both himself and the team. 

The class attribute of Any Given Sunday is Oliver Stone’s direction.  It’s “in your face” and the football scenes are extremely well directed.  Be warned, the editing is very, very fast.  I felt at times I was watching one of those Japanese animations that caused children to go into hypnotic spasms.  There are going to be many viewers who can’t keep the pace and will require several panadol afterwards.

Sport is extremely difficult subject material to analyse and screenwriters Daniel Payne and John Logan have done their homework.  The passionate addresses delivered by Pacino are inspiring and would provide a great lift for any sportsman.  This is epitomised by the line “there’s more to football than just winning”.

The longer this film went, the more interesting it became.  Shot in a documentary-like style, many “behind the scene” viewpoints are shown that are more intriguing than the actual games themselves.  Those unfamiliar with gridiron are guaranteed to find themselves confused which will diminish the power of the film.  For the rest, Any Given Sunday is a captivating sport flick with a top soundtrack and plenty of appeal.

Details

Written by Matthew Toomey

Created: 11 May 2000

Music Of The Heart is based on the life of Roberta Guaspari (played by Streep).  Roberta’s husband has left her and she’s living back with her mother, looking after her two young sons, and trying to make ends meet.  Inspired by both her mother and an old school friend, she approaches a school in inner city Harlem where she tries to coach the principal (Bassett) into giving her a position as a violin teacher.  After heavy persuasion, Roberta makes it on the staff as a substitute and begins a violin program for the younger students.

I could describe the rest of the movie in a simple paragraph, which is a flaw of the film.  I’m sure the real Roberta had a lot more noteworthy adventures that those depicted in this film.  The film has all the characteristics of Mr. Holland’s Opus.  Some of the tackier moments include the ridiculously over-the-top music head and the mother who won’t let her son in the class only to be turned around by Streep’s dazzle.

On the flipside of the coin, the film has some superb characters delivered from a stellar cast.  Streep leads the charge but Angela Bassett, Jane Leeves, Jay O. Sanders, Cloris Leachman, Kieren Culkin and Charlie Hofheimer were wonderful.  It keeps the film on the track and overrides some of the film’s slower moments.

It’s an inspiring tale that you’ve seen before but will still be moved by.  True stories usually do this.  It’s hard to believe that horror film specialist Wes Craven was the director.  Could he have picked a film any further from his niche?  Certainly a bold gamble and whilst the combination of Streep and Craven doesn’t sound like a feasible mix, Music Of The Heart is the result and a good result it is.

Details

Written by Matthew Toomey

Created: 04 May 2000

Categorised as an “epic”, Gladiator is from director Ridley Scott who’s no slouch at meeting the demands of a massive budget.  His previous works include Blade Runner, Alien, Thelma & Louise and the upcoming Hannibal.  No expense was spared in this recreation of Rome 180AD.

The Roman Empire is in a time of conflict.  The war has recently been won against Germania but the people of the Rome are suffering.  The aging emperor, Marcus Aurelius (Harris) wants the Empire to become a republic and to do so will turn over control to the Senate, as a voice of the people.

General Maximus (Crowe) has served his Emperor in battle for over two years and has become the highly respected leader of the Empire’s powerful army.  Marcus Aurelius asks Maximus to help give the Senate it’s power and wipe out the corruption that has taken over the Capital.

When heir to the throne, Commodus (Phoenix), discovers his father is not going to declare him as the new Emperor, he murders his father and orders Maximus and his family to be executed.  From there he returns to Rome with his sister Lucilla (Nielsen) and her son Lucius (Spencer Treat Clark) to take his reign and begin the process of dismantling the Senate.

Maximus’s wife and son are killed but Maximus escapes his executioners and vows to seek revenge on Commodus.  Captured by hunters, he is enslaved and sold to Proximo (Reed), who runs gladiator contests as a source of money and entertainment.  When he discovers Maximus’s immense talent, he travels to take on the best Rome has to offer.  A date at the Colosseum with a 50,000+ crowd and the Emperor himself in attendance.

Well cast, Gladiator is a film that takes its time to build but the ending is most satisfying.  The action scenes provide the film’s highlights although at times Scott’s quick cutaways and fast direction make it hard to figure out what is actually going on although I feel this may have been his intention.  Not to be overlooked are the great costumes from Janty Yeates and an incredible film score from Hans Zimmer and Australian Lisa Gerrard.

Oliver Reed in his final role is superb as are the elder gentlemen Derek Jacobi and Richard Harris.  It is Reed who echoes a line that will become infamous in years to come - “Win the crowd, and you’ll win your freedom”.  Joaquin Phoenix caught me by surprise with his great job at playing the “villain” and his relationship with his Connie Nielsen is both compelling and well developed.  I must not forget Russell Crowe (who has lost plenty of weight since The Insider) who is tough and shows no sign of his familiar Australian accent.

Some of the special effects were questionable but it doesn’t take much gloss off what is a passionate good versus evil journey.  The film consistently builds and by the final ten minutes you will feel you are in Ancient Rome and part of the Colosseum audience.  As Gladiator closes and the line “Directed by Ridley Scott” fades onto the screen, you blink, look around and take a brief moment to slip back into the 21st Century.  An epic indeed.

Details

Written by Matthew Toomey

Created: 11 May 2000

For me, the viewing experience of Romeo Must Die can be summarised into four quarters.  During the first, I was quite interested.  I didn’t really understand what was going on but the premise seemed solid enough and there were plenty of characters to play with.  No action yet but I knew it was coming.

The second quarter started the film on its sharp decline.  It just seemed like a total waste.  You could have taken out the whole half hour and nothing would be lost.  There was one scene with Jet Li in his deceased brother’s apartment that dragged on so long I could feel myself itching in frustration.  I was starting to worry.

The third quarter was farcical.  The plot lost all cohesion.  Nothing made sense, characters were killed off and the truth set in - this film was total crap.  The big “action” kung-fu scenes that were strongly advertised in the film’s trailer were a supreme disappointment.  They were nothing more than fast and creative editing to give the appearance something was actually happening. 

The final quarter was a forgone conclusion.  I could have seen it coming from the cinema carpark.  So there was nothing more to do than just sit and squirm until the inevitable unfolded.

Jet Li is supposedly a rising Hollywood star but this certainly won’t help his resume.  He may be a master of kung fu but he sure can’t act.  At least when Jackie Chan makes a movie he doesn’t take himself too seriously.

Judging by the audiences’ responses, I think many will agree with my appalling opinion.  The most laughs came from a big fat Negro character that refers to Jet Li as Dim Sim.  I think you’ll agree that if that’s the funniest line in a film, it has serious problems.